Hi Ming,
I think there is a general misunderstanding:
When saying "\transpose ef d", ef and d do *not* mean key signatures but
reference pitches defining an interval, nothing more, nothing less.
For specifying a key signature, by the way, you'd also have to state the
mode (e.g. minor, major, dorian, …).
So, \transpose ef d { … } just means "transpose everything in { … } down a
minor second.
You could also have written \transpose c' b or \transpose f e etc.
Just imagine the term "trumpet in Bb". The Bb generally states that the
trumpet will sound a major second lower than notated, i.e. a written C will
sound as a Bb. This also implies that a written A will sound as a G etc. and
is in no way restricted to a key signature.
In fact, this has nothing to do with key signatures at all and also works
for atonal music.
The only difference between the "trumpet in Bb" example and LilyPond's
\transpose is that "trumpet in Bb" implicitly takes C as a reference point,
whereas in LilyPond, both pitches have to be stated.
When taking a closer look, it becomes clear that LilyPond not just
transposes by a given number of semitones, but by considering actual
intervals:
Bb C (two semitones) is a major second, whereas A# C (two semitone, too) is
diminished third.
Apart from that, LilyPond will use suitable enharmonic key signatures if
things (i.e. accidentals) are getting too weird.
In your example, the second key signature (F major) will *not* be converted
into Fb major (with 6 flats and even one double-flat!) but into E major
(with only 4 sharps).
HTH,
Torsten
--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
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